[Hornlist] Old Program about Music - NHR
I thought this was interesting: _http://www.poetv.com/video.php?vid=2049_ (http://www.poetv.com/video.php?vid=2049) It's an old documentary for schools about music... Well actually it's a parody of those old films from the 1970s. It was done by the BBC a couple years ago. The Boite Diabolique is brilliant. -William ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Recovering after Break
Hi Dave, You probably have had some swelling in your mouth and throat due to these problems. Allow your body to return to normal. Most importantly -- do not psych your self out over this. If you are practicing intelligently, paying attention to what is happening in the present-without worrying about the future, then your recovery will happen in a short time. Paul Navarro Custom Horn Lyric Opera of Chicago (ret). ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Recovering after Break
I agree with Chris! I study with Michael Gast, principal horn of the Minnesota Orchestra and he strongly advocates taking approximately 3 weeks off each summer to give your chops, and more importantly your mind a rest. I've done so for the past couple of years and it does me wonders. I'm usually itching to get back into a practice session after about 2 and a half weeks but I make myself wait 3 just so I'm that much more excited to get back into a routine after I've taken my 3 week vacation. Tara Hochstatter On Jun 4 2006, Chris Tedesco wrote: Leave it all at home. Enjoy your vacation You will appreciate the horn a lot more when you have a some time living a normal life in contrast. Whatever you lose in your chops will be made up 10x in your mind:) Chris --- Benjamin Reidhead <[EMAIL PROTECTED]> wrote: Hello - I'd like to jump in on this thread and ask a question - I am going to be forced to take 3 weeks off of playing due to a vacation (I won't be able to take my horn along). However, I am able to bring a mouthpiece and tone generator, etc. along. Any ideas of what I could do during those 3 weeks to prevent my chops from _completely_ dying when I come back? I am going to try to visit music shops, etc. in an attempt to play different horns (than what is available here), but other than that, I won't be playing at all. Ben Benjamin Reidhead [EMAIL PROTECTED] Poudre School District, Ft. Collins, Co. "No opera plot can be sensible, for people do not sing when they are feeling sensible." W. H. Auden (1907 - 1973) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/tedesccj%40yahoo.com __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hoch0059%40umn.edu ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Pitch: for Rachel & Paul & whoever else is interested...
My (amateur and self-taught) understanding of ET piano tuning is that only the octaves are really intented to sound 'correct'. All the other intervals are slightly off, but in such a way that regardless of the key, similar intervals have the same frequency ratio. ET tuning makes it possible for pieces in various keys to be played on the same instrument, and for them all to sound reasonably ok. To me, piano thirds sound terrible - regardless of my not having perfect-pitch, or even decent-pitch... Jay Kosta Endwell NY ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Recovering after Break
You should be able to get back up to speed in ten days or less. Pace yourself at first and don't overdo the practice time. Begin with long tones, scales, arpeggios, and tonguing work. Extend your time each day; use multiple shorter periods of practice and so on. It should be pretty shortly you'll be playing a lot and well. Do you have the Baumann warm ups? They would be a good help. Paul Mansur On Sunday, June 4, 2006, at 05:09 PM, [EMAIL PROTECTED] wrote: hello everyone- I write to you seeking some advice. I recently fell ill to Strep Throat and an infection with a wisdom tooth and have been unable to play Horn at all for a week and a half. I am feeling better now and tried to play again today. It was a disaster and I couldnt play anything. Actually I cannot remember taking off this long from playing in many years. I am used to playing 7 days a week as a full time student. I hate taking days off and always try to practice, or at least play through a warm-up and fundamentals routine every day. I know some people say taking a day off here and there is good; it never worked for me. My question is what do I do now? I had been preparing for a bunch of lengthy end of year concerts and a half-recital, thankfully they were before I got sick. I was making a lot of progress with endurance and both high and low range from the intense at least compared to what Ive done before- preparation I was doing. In the last few months my endurance and range were much, much better than they ever were. (due in some part to members of this list) I am curious if I will loose all that work and have to start over. Have others out there been able to jump back in after a few days, or will I need another several months of slowly building back endurance and range??? Any advice or past expertise about this would be appreciated. Any advise on how I should start playing again would help too. Should I take it real easy, or try (without hurting myself) to jump back into it after a day or two??? I have some playing and gig opportunities for this summer, but I have no idea how long it will take to get back into it, so I don't want to make any commitments. How long should it take? Thanks in advance, Dave Meichle Lawrence University ___ _ Try Juno Platinum for Free! Then, only $9.95/month! Unlimited Internet Access with 1GB of Email Storage. Visit http://www.juno.com/value to sign up today! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/p_mansur1%40comcast.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Recovering after Break
Leave it all at home. Enjoy your vacation You will appreciate the horn a lot more when you have a some time living a normal life in contrast. Whatever you lose in your chops will be made up 10x in your mind:) Chris --- Benjamin Reidhead <[EMAIL PROTECTED]> wrote: > Hello - > I'd like to jump in on this thread and ask a question - I am > going to be forced to take 3 weeks off of playing due to a vacation (I > won't be able to take my horn along). However, I am able to bring a > mouthpiece and tone generator, etc. along. Any ideas of what I could > do during those 3 weeks to prevent my chops from _completely_ dying > when I come back? I am going to try to visit music shops, etc. in an > attempt to play different horns (than what is available here), but > other than that, I won't be playing at all. > Ben > > > Benjamin Reidhead > [EMAIL PROTECTED] > Poudre School District, Ft. Collins, Co. > > "No opera plot can be sensible, > for people do not sing when > they are feeling sensible." > > W. H. Auden (1907 - 1973) > > > > > > > > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/tedesccj%40yahoo.com > __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Recovering after Break
Hello - I'd like to jump in on this thread and ask a question - I am going to be forced to take 3 weeks off of playing due to a vacation (I won't be able to take my horn along). However, I am able to bring a mouthpiece and tone generator, etc. along. Any ideas of what I could do during those 3 weeks to prevent my chops from _completely_ dying when I come back? I am going to try to visit music shops, etc. in an attempt to play different horns (than what is available here), but other than that, I won't be playing at all. Ben Benjamin Reidhead [EMAIL PROTECTED] Poudre School District, Ft. Collins, Co. "No opera plot can be sensible, for people do not sing when they are feeling sensible." W. H. Auden (1907 - 1973) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Recovering after Break
Hi Dave, For what it's worth, and as a fellow college student, whenever I have been forced to take off 1-2 weeks of playing I always restart again slowly for the first few days. I do drills, simple etudes (Kopprasch #1!) a lot of buzzing, and pieces like Mozart concertos (depending on how I feel), but for no more than 1-1.5 hours each day. I also make sure to check my embouchure mechanics in a mirror, especially during my warmup, to ensure that I won't develop any bad habits and to check that my embouchure looks the same as it did before I took the time off from playing. Usually after a few days of that I begin working on whatever repertoire I was doing before, and increasing my practice sessions to whatever feels comfortable - I work my chops each day until they are tired, but not beaten up. Of course, as the usual disclaimer goes, this may not work for everyone (and I am not yet a professional nor do I have the full experience of one) but it has been very helpful for me. It can even be a great time to "start over" and eliminate any bad habits that you may have had (if you had any!) before the time off. I hope you are back in shape soon! Steve On 6/4/06, [EMAIL PROTECTED] <[EMAIL PROTECTED]> wrote: hello everyone- I write to you seeking some advice. I recently fell ill to Strep Throat and an infection with a wisdom tooth and have been unable to play Horn at all for a week and a half. I am feeling better now and tried to play again today. It was a disaster and I couldn't play anything. Actually I cannot remember taking off this long from playing in many years. I am used to playing 7 days a week as a full time student. I hate taking days off and always try to practice, or at least play through a warm-up and fundamentals routine every day. I know some people say taking a day off here and there is good; it never worked for me. My question is what do I do now? I had been preparing for a bunch of lengthy end of year concerts and a half-recital, thankfully they were before I got sick. I was making a lot of progress with endurance and both high and low range from the intense –at least compared to what I've done before- preparation I was doing. In the last few months my endurance and range were much, much better than they ever were. (due in some part to members of this list) I am curious if I will loose all that work and have to start over. Have others out there been able to jump back in after a few days, or will I need another several months of slowly building back endurance and range??? Any advice or past expertise about this would be appreciated. Any advise on how I should start playing again would help too. Should I take it real easy, or try (without hurting myself) to jump back into it after a day or two??? I have some playing and gig opportunities for this summer, but I have no idea how long it will take to get back into it, so I don't want to make any commitments. How long should it take? Thanks in advance, Dave Meichle Lawrence University Try Juno Platinum for Free! Then, only $9.95/month! Unlimited Internet Access with 1GB of Email Storage. Visit http://www.juno.com/value to sign up today! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/sslaff%40gmail.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Recovering after Break
hello everyone- I write to you seeking some advice. I recently fell ill to Strep Throat and an infection with a wisdom tooth and have been unable to play Horn at all for a week and a half. I am feeling better now and tried to play again today. It was a disaster and I couldnt play anything. Actually I cannot remember taking off this long from playing in many years. I am used to playing 7 days a week as a full time student. I hate taking days off and always try to practice, or at least play through a warm-up and fundamentals routine every day. I know some people say taking a day off here and there is good; it never worked for me. My question is what do I do now? I had been preparing for a bunch of lengthy end of year concerts and a half-recital, thankfully they were before I got sick. I was making a lot of progress with endurance and both high and low range from the intense at least compared to what Ive done before- preparation I was doing. In the last few months my endurance and range were much, much better than they ever were. (due in some part to members of this list) I am curious if I will loose all that work and have to start over. Have others out there been able to jump back in after a few days, or will I need another several months of slowly building back endurance and range??? Any advice or past expertise about this would be appreciated. Any advise on how I should start playing again would help too. Should I take it real easy, or try (without hurting myself) to jump back into it after a day or two??? I have some playing and gig opportunities for this summer, but I have no idea how long it will take to get back into it, so I don't want to make any commitments. How long should it take? Thanks in advance, Dave Meichle Lawrence University Try Juno Platinum for Free! Then, only $9.95/month! Unlimited Internet Access with 1GB of Email Storage. Visit http://www.juno.com/value to sign up today! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] RE: Horn Digest, Vol 42, Issue 6 (OT subject - slight deviation)
Hi Rachel, I think ET is favoured by tuners as it is the easiest to do and appeals to the greatest number of people at one time and is also the #1 temperament taught in colleges. You only get shown or told about different temperaments later in the course whilst doing History or being told that people may ask for them when you are called out and find it's a harpsichord you are doing instead of a piano. Yes I'm aware that tuning the piano in ET is to make it happy with itself (hence the ability to play in all the available keys), but in the orchestral dimension, it's to make it happy with the players too. The various piano concerti are in all imaginable keys, the piano can tackle it and the players keep up so one would assume since their training is (mostly) classical they hear in ET too and particularly when 'influenced' by an ET piano in their midst. The discussion on ET amongst horn players on here is quite similar to that which we discuss at Conventions on whether it's a good thing; but what the original (learned or acquired - but IS it?) pitch that the person professing to have PP IS, is the subject of conjecture. One poster on here a while back said he had PP but learned it from an instrument that was a quarter tone below A440 (or whatever it was) so he has a kind of PP but 'wrong' - is that still PP? I have what I'd call relative pitch (I know when my Mum is singing in tune!!) but only for the piano and horn; if I hear them on the radio, I know the notes I hear and what they are. If it is an oboe or fiddle, I am only guessing. I was tuning at the Crucible Theatre on Friday morning here in town and with it being so early, there was almost only me in the place. Suffice to say, as is TYPICAL, the other person in there, IN THE THEATRE [cos his job description no doubt said he had to be,] was the cleaner with his pesky vacuum cleaner. Why he couldn't go vac the bar or the stairs was beyond me - but he did the whole seating area whilst I was tuning. His vac was in C# (odd because our mains hum is 50Hz and that's almost an A - bottom A on the piano is 55Hz so by the time you get to the A below middle C it is humming between G# and A and you often find yourself tuning unisons to the vac!) I was able to tune through his noise because at college, we were one of 12 and the other 11 tuning booths were adjacent to each other, 6 on each side of a corridor and the other 11 noises were in your head the whole time - this served to make you switch off to extraneous sounds quite well and it works. It's taught me the ability to listen to other conversations in a room too - tricky if another is more interesting than the one taking place in front of me! I think the TV thing is the flashing having the capability to trigger epileptic attacks in some people - 13-18 cps? Is that the frequency? It triggers due to it being in the same waveband as some electrical impulses in the brain I believe (not being a scientist I await correction). The pianist strikes A5 (note #49) as that is the same note the oboe gives. The strings all tweak around the note in their usual way and then do 3 other strings to what they perceive as being in tune to the given note. I think from the point they go off at a tangent to doing the other 3 strings, we've lost it. The intervals they use will be all slightly different - and even assuming they were all identical, it would only ever be all those 4 notes in tune - the rest is total ambiguity as it's due to placement of a finger on a board in approximately the right place to give a string length about right for the note on the page! The piano by contrast will always give the 'right' note each time he plays a C# or whatever as it's a fixed note unlike the violinist. I think the fiddlers have to (or ought to) do far more listening when playing with a piano than without as its pitch is not variable to the same extent as theirs. Apparently, their chromatic ascending scale is different from the descending scale too! Do we not as wind and brass (and Horns since we are neither, in the general description) get our own A from the piano too? Still researching the healer's use of frequencies - but it'll be something to do with Universal vibrations I guess. Thanks for your replies to my post Rachel. Hope this wasn't too OT for the List.. I'll PM you if requested in future. Paul Fox Sheffield UK ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Pitch: for Paul The Piano Tuner
Hi Paul You bring up some interesting and very esoteric points here and I agree, equal temperament is at times, favored by pro tuners for whatever reason (I understand that there ARE different ways to 'temper tune' a piano). I am very happy to see that *finally* a real piano tuner is giving us the real deal here on list. I do not gather from your post that you are either aware of or may agree that temperament tuning is intended to make a piano/organ/harpsichord IN TUNE with itself for the purposes of solo playing. As a pro tuner, you must be aware of this...? Do you have your own opinions on this by chance? I'd certainly like to know. My father is a piano professor and also has perfect pitch. When I asked him about whether or not the human ear 'tunes' to harmonic or temperament tuning; he answered that the temperament tuning will be out of tune because, as I reiterate, it is intended solely to pull a single piano or keyboard instrument into tune with itself-therefore the human ear must be using the harmonic tuning; and this is, of course subject to the individual's makeup. One strange thing I am aware of where harmonics are concerned is the annoying 60 cycle hum generated by fluorescent lights. We once had a college professor in counterpoint who would insist upon turning the classroom lights off because the 60 cycle hum disturbed him. This did not make our education any better because then we could not see our text books to do our work :} go figure.the guy was nuts anyhow. I was not aware of the 432Hz or the relative 8 Hz being related to brainwave activity although I hear stories about televisions stimulating certain brainwave patterns, thereby causing the person watching to fall into a sort of 'twilight' state perhaps-and maybe this is the reason for some people doing an 8 hour TV marathon? who knows? I also have not heard of these frequencies being utilized in manual healing, and I do susbscribe to some nutritionist behaviors. Do you happen to actually know the way in which these healers employ these methods or a good URL for this? **response to a portion of Paul's post below** Now I only offer my opinion here; the 'piano soloist plus ensemble being in tune' is a phenomenom that I cannot accurately explain, especially since the pianist typically only strikes the center 'A' to tune an entire ensemble. I do not seriously believe this can be 'true' tuning as there are 12 notes to the classical scale (yes there are other scales, but we will not go there, will we?). I see no benefit in tuning an entire group to the A unless they are ALL string players who can then pull their A string in to line and then make the relative pitch adjustments. But wind & brass? No, we're stuck with the first A we get and then we've got to listen to everyone else to get our pitches into line. As far as 'sounding together' I would venture to guess that one reason is because the pianist is the one person keeping the group together *and* the ensemble is automatically listening for the piano solo-which never hurts. Even the conductor follows your solo pianist, does he not? My responses are solely my opinion; pls feel free to dispute if you do not agree; and I did enjoy reading your very educated post. best wishes Rachel Harvey >BTW, the ET tuned piano is used in orchestrally accompanied piano >concertos >so it must have some influence on the players - they >don't (usually) sound >(too) out of tune with it when playing together! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Berlioz: Overture "Beatrice and Benedict"
The excerpt in question is FIRST HORN IN D, by the way. It begins at the second bar of RN 13 and ends just before RN 15. At normal tempo [the metronome mark is usually observed] therefore it would start about a minute and some seconds before the end of the piece, Lots of luck! Joel Lazar Bethesda MD ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Compiled Post: Orchestra Pranks: MyOpinionsfor Everyone
Last time I played under his baton was Bruckner no.9 in Madrid four days after von Karajans last concert (Bruckner no.9, where I replaced ill Friedrich Pfeiffer of VPO in the Musikverein Saal, April 23rd 1989 11:00 AM), had Madame Buterfly the same evening in Munich, flew to Budapest next morning to play Rosenkavalier with VPO, but returned to Munich the next morning, changed luggage & returned to airport to fly to Madrid with my tuba colleagues to play the tuba quartet with the Spanish Radio symphony. Was in April 1989. Greetings Hans PS: Weller was a serious conductor. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Paul Kampen Sent: Sunday, June 04, 2006 12:02 PM To: The Horn List Subject: RE: [Hornlist] Compiled Post: Orchestra Pranks: MyOpinionsfor Everyone Message text written by The Horn List >Who was that Viennese maestro - Hollreiser - no - Swarovski --- or Boskovski himself, who told us he were received in Japan like the old Kaiser coming from Vienna.< Dear Hans Walter Weller jnr who spent a lot of time in this country (and held Principal conductorships of two important orchestras) in the 70s and 80s. I will never forget him saying to a leader (Concertmaster) who was having problems in Ein Heldenleben - "I know this is difficult, I myself have played it many times!" Which of course he had and this makes a big difference! Regards Paul Kampen (W. Yorks - UK) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka. de ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Overtones, etc.
If you listened to Cabbage's show of a few weeks ago, there was an example of Tuvan throat singing. Their fundamental tone is what singers call a "fry." It is very rich in harmonics. These harmonics are so close together at the formant frequency of the vocal tract, that you hear a smoothly changing note for the "melody." Opera singers have a singer's formant, around 3000 Hz, that cuts through the orchestra. To me, in a small recital hall, this singer's formant drowns out the melody they are singing. Herb Foster --- [EMAIL PROTECTED] wrote: ... > > > If you sing a low sustained steady pitch (near the bottom of your voice > range) and then keep changing the vowel without changing the pitch of the > note > you're singing, you will hear the overtones change over the fundamental (each > > vowel has its own characteristic timbre, so changing the vowels is sort of > equivalent to feeding a musical tone through a band-pass filter and > constantly > changing the settings). > > Thirty-six years ago or so I heard a recording of a Stockhausen piece called > > (I believe) "Stimmung" which used this phenomenon as one of its basic > compositional elements. > > It is also I believe the basis of at least one of the styles of singing > known as "Tuvan Throat Singing." > __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Compiled Post: Orchestra Pranks: My Opinionsfor Everyone
Message text written by The Horn List >Who was that Viennese maestro - Hollreiser - no - Swarovski --- or Boskovski himself, who told us he were received in Japan like the old Kaiser coming from Vienna.< Dear Hans Walter Weller jnr who spent a lot of time in this country (and held Principal conductorships of two important orchestras) in the 70s and 80s. I will never forget him saying to a leader (Concertmaster) who was having problems in Ein Heldenleben - "I know this is difficult, I myself have played it many times!" Which of course he had and this makes a big difference! Regards Paul Kampen (W. Yorks - UK) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
